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No, that is not yet an option. It is several tricky fingering runs that my dyslexia interferes with terribly. I *cannot* read them, just like I *cannot* read certain combinations of numbers. Most are fine-ish but some must be committed to memory, so I am memorizing chunks of these so I don't have to read them, per se, but can sort of scan them as they blow past me. My dyslexia requires me to read note-for-note, so I am very fast at that, but certain groups of notes with certain accidentals are absolutely unreadable by me.

By memorizing these runs I can "read" the music at speed and not miss anything. I read *very* well — until I can't read at all, and this has been an issue for me my whole career. Most gig music is fine, because, hey, tuba parts are not that difficult. But some of the lit where many accidentals are spat upon the page are just floating dots and tic-tac-toe symbols that are not connected in any sort of meaningful way.

Many of my edited parts are to respell notes enharmonically to make it easier for me to take in as blocks, like words. I read letters very quickly, and that is not good enough in cases like I am describing.

Further, NO MATTER HOW WELL I MEMORIZE A PASSAGE — IF I USE THE MUSIC IT WILL BE JUST AS BAD AS IF I WAS SIGHTREADING LIKE NO WORK AT ALL HAD BEEN DONE. So when I get to these spots I sort of let my eyes go out of focus and I just sort of follow the music without actually focusing on it. Fully memorized material is the best way for me to go, but I am middle-aged and don't give AF enough to memorize an hour's worth of stuff. No way. I don't care how much they pay me as a "guest artist", it will not compensate me for the time needed for all that memorization.

The 6th valve is merely learning "alternate fingerings" for those that I have used forever. That is simple enough, again, if the music allows for it.

Every performance or rehearsal presents me with something that needs improvement. Last brass band rehearsal I felt little lacking on a pp passage up toward the top of the bass staff. Yesterday I got out the “Effie Sings a Lullaby” movement from the Alec Wilder suite and played it several times very softly, concentrating on support, good tone, and phrasing. If possible, I always try to find some actual music that contains the issues I want to address, rather than just exercises.

I'm not dyslexic, but I suspect that I get a microscopic taste of what I may (??) be like when trying to peer through these cataracts at B-flat tuba double sharps and at somewhat high velocities.

Just got the new folder for my brass ensemble. Lots of pop tunes and Seb Skelly arrangements. Should be fun.

Funnily enough, the thing that tripped me up the most sightreading was the bassline to "Rosanna" by Toto.

I might be making progress on some of these Bach cello suite mvts - 8va basso with this huge B-flat tuba...(??)

Mrs. bloke is making occasional comments such as "I like that one", etc.

It seems to me that if I really sucked bad, I wouldn't be hearing comments like that.

These little dance movements (regardless of how much technical prowess is called for with each individual one) are certainly all bare-nekid.

I've been asked to play a lot of euphonium in this latest run of band concerts, which has been fun. I've been putting a lot of face time on my euphonium and have only played tuba a couple times the past few weeks. (also, the euphonium is easier to get out of the case...)

I realized after rehearsing on tuba yesterday with my small brass ensemble that my lack of tuba face time was catching up to me. Chipping notes, biffing low Fs, bad air support, etc.

So, I sat down today and did some nice and needed fundamentals work with the 832 CC. Ended my practice session by finding some free/public domain band parts online and played along with some North Texas performances of Holst and Vaughan Williams and the like. It was fun.

At this time I´m practising how to breathe in a way less stressful to my expanding "Linea Alba".
Especiallly as this expansion has reached the sternum.

This involves letting go of inclinations to try and drown the band in sound.
Maybe it´s time for OTHERS to indulge fantasies of omnipotence and invincibility...

I suspect (??) I am one of those large air capacity people Mr. Jacobs identified who doesn't breathe particularly deeply because I tend to have enough in the tank to make it.

I've been working on taking in more, and the ends of phrases are sometimes easier...

...The beginnings feel different though, and I'll grow accustomed to that.

A piece called 'As Time Goes By'.

My first time being a soloist. It's with a local brass band I play EEb in. Had the first run through last night and while I still have lots of practice to do, was positive comments from the band :)

Find myself rereading the classic tubenet post about playing high on a daily basis. It's something I've always struggled to maintain my tone, and combination of daily practice and focus I'm seeing the tone quality improve one partial at a time.

I'm trying to get familiar with my new-to-me 4+1 Eb. I didn't think it would be so difficult for me.

I hear you on that one; Eb fingerings are still wandering into the CC playing sometimes. And vice versa -- if the two tubas didn't "feel" so much the same, it wouldn't be as tricky.

What I'm practicing is the two Opposites of the Air World. Both tubas, Eb and CC, and oboe. (Side comment: one of the kicks I get out of the oboe is that as long as there is air going through it, it plays, even if the fingers are off in Timbuktu somewhere. It can be quite amusing, sounding like it took off down the road by itself and got lost.)

Tubeast wrote: ↑Mon Feb 13, 2023 2:46 am At this time I´m practising how to breathe in a way less stressful to my expanding "Linea Alba".
Especiallly as this expansion has reached the sternum.

This involves letting go of inclinations to try and drown the band in sound.
Maybe it´s time for OTHERS to indulge fantasies of omnipotence and invincibility...

I had to go look up Linea Alba: The linea alba is a band of connective tissue that runs from a person's sternum to their pubic bone. It helps stabilize and brace the core muscles. It can become damaged and weak from overstretching. Healthcare providers treat conditions of the linea alba with exercises and physical therapy.

I am NOT one of those huge lungs people Jake referred to. When I tried to find out my capacity by blowing up a plastic bag, to my eyes it looks like about a liter and a half, which is not generally considered tuba air. (More like oboe air, and I wish my mother had not hated the sound of the oboe and would have let me study it, because I think I *could* have been a high level oboe player.) So that is, I think, largely why large tubas are simply out of the question, and even a 3/4 CC is pushing the limits.

How on earth would you over-stretch the linea alba?

Mary Ann wrote: ↑Wed Feb 15, 2023 9:29 am I hear you on that one; Eb fingerings are still wandering into the CC playing sometimes. And vice versa -- if the two tubas didn't "feel" so much the same, it wouldn't be as tricky.

Eb fingering in general works. To use the index finger of my left hand is the problem...

Estubist wrote: ↑Wed Feb 15, 2023 10:02 am

Mary Ann wrote: ↑Wed Feb 15, 2023 9:29 am I hear you on that one; Eb fingerings are still wandering into the CC playing sometimes. And vice versa -- if the two tubas didn't "feel" so much the same, it wouldn't be as tricky.

Eb fingering in general works. To use the index finger of my left hand is the problem...

I use the 2nd finger --- if it's a "finger problem." If it's a "remember to use the silly finger" problem, oh well! I have a compensating euph, and where my left hand needs to be to work the 4th valve is not where it needs to be to support the instrument, so it's a bit of mayhem.

I learned F tuba on a 4+1 Meinl Weston.

I used/use my pinky on the left hand valve.

Same goes for any tuba with a left hand second valve trigger or the like. I guess I'm weird.

Three Valves wrote: ↑Wed Jan 18, 2023 6:32 pm
I have some beginner/intermediate studies around here from my re-intro 5+ years ago.

Great condition, cheap!

viewtopic.php?p=24006#p24006

And now he doesn't, I bought Three Valves' music and as it has arrived am starting in on that!

I've fallen down a dark rabbit hole of finding public domain music on IMSLP and bandmusicpdf.org and playing along with recordings of respected ensembles. A lot of this is revisiting things I've played before, but a good chunk is sight-reading.

I never managed to play Lincolnshire Posy in college wind ensemble, fwiw.

This is my working list of things I played through the past few days or are on the lineup for today. I imported this from Excel and lost my formatting, apologies.

My favorite are Karl King's circus "screamers." Those are excellent sight-reading practice, especially on those hard-to-read, turn-of-the-century blown-up marching parts.

Composer Title
Holst First Suite in Eb
Holst Second Suite in F
Holst Hammersmith
RVW English Folk Song Suite
RVW Sea Songs
Grainger Duke of Marlborough Fanfare
Grainger Lincolnshire Posy
Grainger Colonial Song
Grainger The Immovable Do
Goldman On the Mall
Goldman Chimes of Liberty
Bagley National Emblem
Alford Colonel Bogey March
Fillmore Rolling Thunder
Fillmore Circus Bee
King Melody Shop
King Barnum & Bailey's Favorite
King Cyrus the Great
King Invictus
Fucik arr. Landreau Thunder and Blazes
Huffine Them Basses
Sousa King Cotton
Sousa Liberty Bell
Sousa The Thunderer
Brahms arr. Safranek Academic Festival Overture
Mozart arr. Mayr Nozze di Figaro
Liszt arr. Helfer Les Preludes

Euphonium: focusing on not sucking; been playing through lots of marches... some nice countermelodies. Getting Melody Shop under my fingers for the hell of it. Resuscitating a double bell euphonium to use as a sonic prop in an Ives piece.

Tuba: I took @the elephant's advice, started using some Cichowitz studies in my practice sessions.

Worked diligently with a tuner and hashed out an intonation tendency chart on the 832 CC. The most in-tune tuba I have owned besides maybe the Miraclone 410.

Slide manipulation/alternates:
pull 1 for F right below the staff
push 1 for 2nd line Bb
use 3rd valve for E below the staff and... that's it.

I think I am going to shorten the first valve circuit, because I have plenty of room to pull but not very much to push to get that second line Bb in tune. I can get it there, but it leaves no wiggle room.

Other stuff: I have been playing along with Hindemith's Symphony in B-flat. I never got the chance to play this in a group. The part is a work out!

It seems as the majority of manufacturers don't have the courage to allow the first slide to be short enough to play the first valve fifth partial pitch high enough. Maybe, they really don't want to admit the full range of movement that's required of the first slide on their instrument in order to play it in tune...??

That having been said, if you can actually push it in all the way and play that pitch without any lipping at all, I would encourage you to leave it alone, as " all the way in" is a nice reference spot.

Congrats on the sit-down time. I'm getting back to it as soon as I'm fully recovered from this illness. I'm well enough to fix horns now but I really don't want to be doing all the huffing and puffing past this still not-great throat.

My prototype mouthpieces have been scanned, so hopefully tomorrow I can get back to the F cimbasso and work on Dvorak 7 for next weekend.